Ask Jewelry Addict

Monday, May 15, 2017

Yesterday I was reading the Sunday Seattle Times and
stumbled on an article about Nigerian hunters who were going after Boko Haram
militants. Most of us have been following the story of the schoolgirls who were abducted by Boko Haram terrorists in 2014. Since then the government of
Nigeria has sent soldiers out to attack and kill the Islamic terrorists. Once the
military started chasing the terrorists, however, they retreated to remote
forest hideouts. The soldiers need help finding water and shade as they pass through
unfamiliar terrain and that's where the hunters come in. The hunters are well
acquainted with the remote forest areas and they want revenge for the death of
an elderly leader of their group. They are actually guiding the soldiers to the
terrorists. The hunters are just one of many civilian vigilante groups that
have joined the fight against Boko Haram.

Abba Balomi, a hunter in Maiduguri, Nigeria wearing amulets and carrying a gun.

What caught my eye was a photograph of one of the hunters
wearing the sort of African amulets that I have read about in Africa Adorned by Angela Fisher. Many
West African hunters wear a special garment, called a batakari, covered in
amulets to protect them on a hunt or at war. The amulets look like little
leather packages and they are stuffed with sacred writing from the Koran. Since
one of the themes in my own work is protection, I have spent a lot of time
reading about protective garments and talismans from other cultures.

This is Chief Atoge Zangwio, a respected Kasena village
chief wearing his batakari and hat covered with leather packages.

The article in the paper mentioned the hunter’s amulets and
described them as lucky necklaces and superstitious. It also
described a quilted cloth vest made to resemble a bulletproof vest that
this hunter wears.“The items give him a sense of protection” is a quote from
the article. It also mentioned that when they recover trophies from the Boco
Haram hideouts, cash, phones and the insurgents good luck charms, they destroy
them. The hunters are also Muslim, but they are the good guys.

Notice the amulets on his belt and quilted vest.

I find it interesting that the author of the article, Dionne
Searcey from the New York Times took an interest in not only the weapons
carried by the hunters but also their protective garments and jewelry. What one
culture finds superstitious, another's finds empowering.Wearing words from the Koran on armor
is an old custom and widespread in the Muslim world.

Below is a helmet from Iran, early 19th century, decorated with sacred writing from the Koran.

Below is one of my necklaces, Scalped, made in 2010. The cylinders at the bottom contain powerful writing intended to ward of the evil spirits of cancer. I believe if an amulet makes you feel better or stronger, it's working.

Wednesday, February 1, 2017

I recently went through images of old work searching for examples that are relevant

to the current political climate in this country.

Broken Trust is made of silver, copper, class, gemstones and American currency.

My first work about American politics is titled, Broken Trust. I made this necklace in 1992, the year so many women were elected in response to Anita Hill's testimony. I intentionally broke the eyeglass lenses on two of the settings to indicate that the American public had lost trust in their government. I cut up real money to prove that I was serious.

Vicious Circus is made of silver, gold, plastic and brass.

Vicious Circus (2002)is the title of a necklace that I made after the Al Qaeda terrorist attacks on September 1, 2001. At the time I was shocked by the hateful conversations that I heard publicly and privately about Muslims. The necklace has five mouths cast in silver with gold snake tongues coming out of them set in a circus themed arrangement. 9.1.01 was a real tragedy and it was appropriate to be outraged and sad but the government used it as a rally cry for war. Our president told the American people that Saddam Hussein had weapons of mass destruction to justify an expensive war in Iraq and stirred up a hornets nest of violence in the Middle East. I'm hearing and reading the same hateful talk now from the new administration.

Beans in Your Ears is made of silver, gold, bronze, copper, glass, gemstones and found objects.

Beans in Your Ears, a necklace from 1996, was inspired by PTA meetings at my daughter's school where everyone talked and nobody listened. The 2016 Republican party debates were shouting free-for-all's where nobody was listening, but I'm also witnessing Facebook posts where people just vent. Our new president uses Twitter to rant and he exhibits little patience for listening to people with experience in government. I'm glad I own this necklace because I need to start wearing it again.

Terminology is made from IBM typewriter balls, silver American coins and brass Japanese coins.

Terminology (1996) was also inspired by PTA meetings at my daughter's school where well-intentioned white people were insulting people of color with their choice of words. Terminology addresses six hot topics: each tablet-shaped-bead is stamped with politically correct terminology on one side and politically incorrect terminology on the other. The hot topics are gender reference, obesity, race, swearing, political identification, and descriptions of sexual organs. I stamped the word pussy on the inappropriate side but I am hearing that word a lot now in public.

Mantle for Textual Assault is made from steel, aluminum, brass, and found objects.

Mantle for Textual Assault is armorthat we finished in 2015. At that time I was commenting on Internet trolls making hostile and inappropriate references to women. I felt that email, Twitter, Facebook, and texting encouraged people to say cruel and inconsiderate things because the authors are invisible. We are more careful when were are talking on the phone or writing a letter. My cautionary advice, THINK SLOW and THINK SMART, was based on rules that we learned with older, slower forms of communication. I had absolutely no idea how relevant Mantle for Textual Assault would be in the 2016 election.

My job as an artist is to observe human behavior and comment on it. From the vantage point of age, I am watching human behavior patterns repeat themselves. While it may feel like change everything is really just the same.

Monday, October 10, 2016

Amyotrophic Lateral Sclerosis is a rare neuromuscular
disease hereditary in my family. While there is currently no cure or treatment,
the pathology of the disease was recently revealed creating great optimism.
Unfortunately, the insidious politics of the research community can stymie new
treatments. “In the world of medical research, patients are at the bottom of
the food chain” is a quote from an article I read about the scientist Stephen
Friend. Friend, who worked for eight years in academia, eight years in biotech
and eight in Big Pharma, is quoted saying, “If
patients knew the secrecy in academia, they would throw up.” After several years of gathering similar articles, I decided to create something that would illustrate the problems with medical research for the benefit of myself and others. I had no idea how big it would get when I started; it ended up being 10 feet high and 4 feet in circumference.

Patients Are at the Bottom of the Food Chain, Nancy Worden 2016

Academic secrecy is not the only source of corrosion in the
food chain. Congress can prohibit the collection of stem cells and the FDA can
stall approval of a treatment. The
ALS food chain is a complex web of prey and predators all mixed up, feeding on
and dependent upon each other. What the FDA, academia, politicians and drug
companies all have in common are that they are comprised of humans. Whenever
humans are present, egos, turf wars, competition, greed and secrecy are too.

Top section of Patients Are at the Bottom of the Food Chain

The symbolism in my food chain has many layers. The archaeologist, Marija Gimbutas, tells us that early containers with mouth-like spouts were symbols of the goddess, the source of life, water or in this situation, money. Money is the source of life for medical research. From the three pitchers that represent special interests, drug companies, and the investment community, the money tubes flow through the vessel of politicians. The money from the sources buys politicians by funding their campaigns. Then the political party in control of Congress determines how much and where the research money is spent. Buzzing around all the large vessels are legal liability attorneys who work for who ever pays them.

Center section of Patients Are at the Bottom of the Food Chain

showing glass test tubes and vinyl tubing filled

with shredded currency.

A lot of the money from politicians goes out to the National
Institutes of Health or NIH, the Food and Drug Administration or FDA and nonprofits
or NGOs. From these three well-intentioned entities, the money is fed into the
central form representing the Great Goddess Artemis, the goddess of life and
death and in this situation, the symbol for medical research. Once the money
enters medical research some of the money dead ends and goes nowhere as dead
data. Successful data from successful research can also end up unaccounted for; data often becomes available to the public depending upon the ethics and whims of the
scientists doing the research.

Moving fan at the top symbolizing the 8 karmic winds.

Some scientists think and act in terms of what is best for their careers and
not necessarily what is best for patients. This is why there is a fan at the
very top. The fan represents the eight karmic winds of ego; desire for pleasure and fear of pain, the
desire for wealth and fear of loss, the desire for praise and fear of blame,
and the desire for fame and fear of disgrace. The moving fan reminds us
that research projects by governments, organizations, companies and
universities are run by humans and

are therefore vulnerable to fear and desire.

A representation of the Great Goddess Artemis found in Italy.

Academia and Medical Research depicted as Artemis.

The Great Goddess, Artemis, is depicted with multiple breasts that have the capacity to sustain life. What nourishment manages to make it through her continues through the agencies and entities that have the power to serve up care and assistance to patients via Medicare, private insurance providers, doctors and clinics. Ultimately these are the brokers of assistance to patients.

Pills filled with shredded currency.

By the
time the money from special interests, drug companies and investors makes it
through politics, the government and medical research, a very small percentage of
money is left to be distributed to help patients, shown here as tiny capsules
trickling out of the healthcare vessel.

Photos of several generations of women in my family.

The final vessel represents the patients and in this case, eight
women in my family who died of Lou Gehrig's disease.Each woman represents a family who experienced the loss of a
loved one as well as enormous financial loss while caring for the patient. As
the diagram shows, the patients really are at the bottom of the food chain.

My big, gold, spinning food chain sculpture is currently on display at the Bellevue Arts Museum Biennial Exhibition, Metamorphosis, through February 5.

Tuesday, July 5, 2016

Sometime in the 1990's, I bought an extremely politically incorrect lamp at Ruby Montana's Pinto Pony store in Seattle. It had a crazy lampshade and I didn't know anything about it other than I thought it was hilarious. It never occurred to me that it was a famous design.

Detail of pole lamp by Viktor Shreckengost.

In 2014, I was having a conversation with a museum director and he mentioned Viktor Schreckengost and his famous Jazz Bowl. I didn't know this work so I went to the Internet and there it was along with a lot of other information about this amazing artist and industrial designer as well as an image of my lamp!

The Jazz Bowl was created at the request of Eleanor Roosevelt who at the time was first lady of the state of New York.

Viktor Schreckengost

The Viktor Schreckengost Foundation homepage indicates:

"Every adult in America has ridden in, ridden on, drunk out of, stored their things in, eaten off of, been costumed in, mowed their lawn with, played on, lit the night with, viewed in a museum, cooled their room with, read about, printed with, sat on, placed a call with, enjoyed in a theater, hid their hooch in, collected, been awarded with, seen at a zoo, put their flowers in, hung on their wall, served punch from, delivered milk in, read something printed on, seen at the World's Fair, detected enemy combatants with, written about, had an arm or leg replaced with, graduated from, protected by, or seen at the White House something created by Viktor Schreckengost."

Dinnerware designed by Victor Schreckengost.

Recently I was asked to choose a work of art currently on display at the Renwick Gallery of the Smithsonian American Art Museum and make a video about how it related to my necklace, The Family Reunion, which is also on display there. I was drawn to Viktor Shreckengost’s ceramic sculpture, Apocalypse ’42, because, like my necklace, it addresses conflict. Shreckengost made this piece in early 1942 shortly after Pearl Harbor was bombed. A few months after he finished the sculpture he enlisted in the U.S. Navy at age 37.

Apocalypse '42 by Viktor Shreckengost

As commentary on the events of WWII, Shreckengost created a frightened horse riding over the globe carrying caricatures of Death and the leaders of the Axis Powers. He combined recognizable symbols with cartoonish portraits of Adolf Hitler, Death, the Emperor Hirohito, and Benito Mussolini and set them in a story from the Bible about the coming of the Apocalypse or the end of the world.

Viktor Shreckengost used his art to address a unique conflict
in the family of man. His goal was to
use a story about the end of the world to scare people into awareness and
action.

In 2006 at the age of 100, Viktor Schreckengost was awarded the National Medal of the Arts by President George W. Bush. After a life spent creating, designing and teaching, he died in 2008 at the age of 101.

Monday, May 23, 2016

A long time ago I spent many hours driving around photographing folk environments.

A folk environment is an art installation usually in the yard of someone's home created by an untrained, but passionate artist. Sometimes these artists are called outsider artists.

In 1978, my friend Ken Cory and I drove to Coulee City to photograph the whirligigs of Emil Gherke. Emil had worked on the building of Grand Coulee Dam and he was a creative type. It can get pretty windy in that part of Washington, so he made whirligigs out ofwashing machine parts, old toys, vintage coffee pots and a lot of other things he picked up at rummage sales and thrift stores. He was amazing at coming up with combinations that would spin in the wind and were delightful to the eye.

At that time Mr. Gericke still lived in his little house, surrounded by his wonderful creations and a fence made of washing machine basins painted the colors of the rainbow.

Fortunately it was a gray day when we were there, so we weren't fighting dark shadows.

These images were shot with my favorite film, Kodachrome 64.

11 years later I returned to the dam area but Mr. Gherke had passed away. They built a park near Lake Roosevelt with some of his whirligigs and I know that a few of them came to an electrical substation in Seattle. The whirligigs were still incredible even though they were surrounded by a cyclone fence instead of the original washing machine fence.

There aren't as many folk environments around now because the people who built them aren't around. Most of the folk environments that I photographed were built by people of my grandparents generation. These were people who grew up on farms and knew how to build things. They enjoyed creating a roadside attraction to attract tourists on road trips. Nowadays people travel to foreign countries in airplanes and they don't know how to make anything. Has anyone seen the whirligigs at Lake Roosevelt recently? I would really like to know if they are still there.

Tuesday, March 22, 2016

It may be wet and gray outside but inside at the Seattle Art Museum there is a big celebration of color going on. The current exhibition, Kehinde Wiley: A New Republic, is one of the most inspiring painting shows I've seen at SAM in a long time. Wiley creates enormous portraits of people he finds on the street, a process he calls street casting. Once he finds an interesting person, all people of color, he invites them to come to his studio for a photo session. The male subjects choose what they want to wear and a professional photographer captures them in poses related to famous portraits the artist finds in his large art history book collection.

Napoleon Leading the Army Over the Alps, 2005

The history of painting by and large has pictured very few black and brown people, and in particular very few black men. My interest is in countering that absence.--Kehinde Wiley

The artist with his painting, Morpheus, from 2008

To quote the exhibition guide, "Kehinde Wiley lives and works in New York and Beijing. His work posits street culture, black masculinity, and the aesthetics of hip hop as constructs that obscure the complexity and subjectivity of human identity. Wiley exposes the familiar realm of portraiture to a host of questions. He asks us to notice how a subject's gestures, pose, dress and gaze communicate identity, class, power and authority. Folded within each portrait are more complex questions about European history and ideals of beauty as well as the history and legacy of colonialism. By inverting the blackbody into the classic poses of aristocratic individuals, religious fixed figures, and men of influence from the 15th to the early 20th centuries, Wiley's works appropriate and redefine a paradigm that has historically excluded young men of color. Originally focusing on male subjects the artist recently embarked on a series of striking images of women. All of Wiley's portraits celebrate his sitters. He challenges long-held assumptions by opening new doors of perception, offering unprecedented interpretations and reimagining the black figure is subject, object, and agent."

Randerson Romualdo Cordeiro 2008

While it is obvious Wiley is trying to change our perceptions, this work can also be enjoyed on a purely aesthetic level. I can't remember the last time I saw such beautiful, rich figure painting and then to have it superimposed on backgrounds drenched in color and alive with decorative detail is an extra treat. The sheer size of these paintings is celebratory and it puts the predictable Photoshopped images that we see on the Internet and in magazines to shame.

Saint Gregory Palamas 2014

This work glows, especially one whole room containing small portraits in gold leafed frames and painted stained-glass works lit from behind. You don't have to know anything about art history or painting to appreciate this work, it is just downright gorgeous.

The Two Sisters, 2012, 96 x 72inches

An added feature in the exhibition is the film documentary, An Economy of Grace, which follows the process from the initial street encounters to the sitters reactions at first viewing the finished paintings. The women subjects, most of whom work menial jobs, are transformed in contemporary couture gowns and wigs prepared by one of the top hairdressers in New York. The film also includes shots of studio assistants at his Beijing studio painting in the elaborate backgrounds. Wiley paints the figures and sets the stage and the assistants fill in the details. How else could he be so prolific?
I say more power to him.

Monday, October 12, 2015

Back in 1976 or 1977, I was walking through a bookstore in Yakima, Washington and stumbled on Native Funk and Flash: An Emerging Folk Art by Alexandra Jacopetti. It is a very unsophisticated celebration of home made fashion from an era when people embroidered imagery on their Levi's instead of tattooing their arms like they do now. I hung onto the book because it documented a time from my youth and it celebrated self-expression in a down home, folksy kind of way.

Pat Haines wearing the jacket she decorated.

I was pleasantly surprised to re-discover the book at the heart of a current exhibition

Counter-Couture is a celebration of the far out fashions from Native Funk & Flash, as well as clothes worn on stage by John Sebastian and Jimi Hendrix, big jewelry from that time and the influence of "hippie clothes" on the elite world of couture.

Scrumbly, wearing his suit made from crocheted dollies.

The guest curator, Michael Cepress, is a local clothing designer and an instructor at the University of Washington. He has developed a university course devoted to the history of style and fashion in the American counterculture of the 1960's and 1970's. He not only located some truly wonderful and amazing clothes for the exhibit he also interviewed many of the artists and learned their stories.

Mary Ann Schildknecht wearing her prison project.

One of the more interesting stories is about Mary Ann Schildknecht, shown above. After traveling around Europe with her boyfriend, Mary Ann, then in her 20's, made the mistake of attempting to smuggle hashish onto a plane dressed like a hippie (red flag!) and was busted by Italian airport security. She was put in an Italian prison run by nuns and the nuns taught her how to embroider.

She spent 18 months at the prison and created a very intricate blouse and skirt embroidered on fabric she stole from her bedsheets.

A very young Laurel Burch.

Another cool aspect of the book and show is the early work of artists who later became quite well known. Laurel Burch, who enjoyed enormous distribution of her designs in the 1980's and 1990's on tote bags, enameled jewelry, clothing and coffee cups, started out combining ethnic textiles to make interesting clothes for herself.

Alex & Lee wearing their jewelry.

Alex and Lee, partners in life and work, made heavily encrusted jewelry that later was picked up by Saks and I. Magnin. I remember seeing their samples at apparel shows in the 80's.

Some of my favorite clothes in the show were created by Kasik Wong. His clothing is beautifully constructed, nothing funky about it, and could easily serve as theatrical costume.

Kaisik Wong wearing one of his jackets and hat.

The show is up through January 10. On Saturdays and Sundays you will need to park and walk to the museum as the street in front of the building will be blocked for construction.